A 30-hour musical experience, The Infinite Now, created by TIMES partners Berlin Atonal & Unsound, unfolded in Berlin last week—a continuous passage through sound, presence, rest, and collective listening from dusk till dawn, and back again.
This first-ever edition featured 6 TIMES curation.
Shane Parish
Shane Parish, the festival’s opening act, drew the audience into his distinctive musical world, accompanied by his longtime companion—his acoustic guitar. He presented Autechre, a solo acoustic guitar performance of Autechre’s 1990s electronic catalogue, drawn from his 2026 album Autechre Guitar on Bill Orcut’s Palilalia.
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The next act on the timetable was another TIMES curations, 7038634357 moved between hazy ambient textures and stark, intimate vocal moments.
Third in a row, being a TIMES curation, Joanne Robertson took the stage next, holding the audience in a quiet, attentive space through the strength of her voice and presence. Her performance brought together folk intimacy, lo-fi textures, and understated improvisation.
Then, Brìghde Chaimbeul, the Scottish smallpipes player, blended her traditional instrument with drone and electroacoustic minimalism.
Marta Salogni, one of the most significant recording engineers and producers of today, presented her new work, entitled A Drift, using tape machines and analogue feedback systems as live instruments.
The last TIMES curated act of the festival was Keiji Haino.
After more than five decades of her career, he remains a true legend of experimental music. His psychedelic intensity, fearless multi-instrumentalism, and commanding stage presence left the audience in awe—a rare performance to witness.
